Now let’s look at the “familiar pattern” moving up the fretboard and in pitch.

This is mainly the Minor Pentatonic scale with the M3 added in.

You can pick each note of this and it’ll sound great. But, this time I’ve used hammer-ons, pull-offs, and slides to make this one get up and move.

But again, this is basically one lick played in three octaves.

Audio for Lesson 26

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This is another variation of the “familiar pattern”.

This lick is essentially the same as lesson 26, although the 4/11 has been replaced with a #11 (or a b5 to the 5th movement).

So, this example uses the Blues scale adding the M3.

Also to note, the move from b3 to the b5 (#11) give us a diminished move, although it doesn’t sound as prominent when played in this lick.  But, it’s there nonetheless. And, this can give you insight to the Gdim7 arpeggio lying within the Super-Imposed scale. We’ll look at this down the road a bit.

Audio for Lesson 27

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This is another variation on the “familiar pattern”.

This example mixes it up a bit and breaks things into two phrases that cover two octaves individually, and three octaves together. So, we are still looking at the big picture, just in smaller chunks.

Audio for Lesson 28

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Let’s change directions for a couple of lessons.

In an earlier lesson I showed you how the how the Major and Minor chords laid with in the Super-Imposed Scale. Now that we’ve seen that the Mixolydian scale is buried within the Super-Imposed Scale, this also means that a dominant 7 arpeggio is buried in the Super-Imposed Scale.

So let’s expand on the form of the “familiar pattern” we’ve looked at the less few lessons, and do something similar using the G7 arpeggio.

I’ve included two fretboard daigrams of the arpeggio, one with the Root note on the low E string, and one with the Root on the A string.

The one with the Root on the low E string looks pretty easy to comprehend as one arpeggio played in three octaves. You should be able to get a handle on this one pretty easy by now.

The arpeggio with the Root on the A string might be a little awkward at first but is very, very doable, and is very common. So practice it, as we’ll need it for this and the next lesson.

I’ve included a lick that integrates the G7 arpeggio with other notes from the Super-Imposed Scale. The one that’s based off the type with the Root on the low E string should be pretty easy to handle for you at this point I would think, since it is notes/frets we’ve used in the last 4 or 5 lessons. So, I am going to focus on the phrase based off the G7 arpeggio with the Root on the A string…just to move us into a different area of the fretboard for a while.

I only played it slow here. So, practice it up BEFORE moving to the next lesson, because it’s going to start to cook in the next lesson.

Audio for Lesson 29

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Now let’s take Lesson 29 and put it to use.

We are going to move this lick around to create the appropriate dominant 7 sounds against a I-IV-V progression. In other words, move the lick to fit the chord being played.

The audio example is played once slow, then once fast. It’s going to get you moving at the fast rate for sure. I’ve kept it repetitive up to the end, I just had to “tag” that ending…I couldn’t help it ;)

But, the tag includes the M7 we’ve added to the Blues Scale and the #5/b6 that we used in a previous lesson (the Lukather or Carlton thing). So, it’s just more ways to use those notes.

The slow version has each riff lasting two measures in length, and the fast version has it lasting for one measure in length. So, the fast version is in double time.

Have fun with this one and do your best to keep moving all these examples along with the chords you are playing and see what fits and what doesn’t. Pretty much 99.999% of the time when using a I-IV-V progression, moving these examples along with the chord will always sound good…and therefore will work. Just use your judgment, because it can also sound as stagnant as playing just one scale all the time, if that’s all you do.

Audio for Lesson 30

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